Well, hello again, dear readers! After many months of silence, or near silence, I’m finally taking a stab at inserting (or, should I say “inflicting”) a new post on my almost moribund blog. It’s requiring a bit more of an effort than usual, given the enormous and frightening changes in the world since my last post in January. Then I had two major preoccupations, one being the very pleasant task of choosing my books for the 2020 Back to the Classics Challenge hosted by Books and Chocolate, the other the not-very-enjoyable labor of planning and executing a long-distance move (a task that proved almost, but not quite, too much for Janakay!). In those halcyon, pre-pandemic days, Covid-19 was barely a shadow on the horizon. Now it appears to dominate my life. When I’m not washing my hands or sanitizing hard surfaces with whatever disinfectant’s at hand, or enjoying those very entertaining bird videos with the cats (Birds of Australia is a particular favorite at our house), I spend far too much time reading news accounts and statistics relating to this terrible disease. Covid-19, dear readers, has given Janakay some (very) minor and unwelcome insights into life during those medieval plague years that were the subject of several of her college history courses. Except, of course, medieval plague sufferers lacked both Purell and the internet (how would we all survive without both?)
And yet, however imperfectly, life goes on in this year of the plague. Because it is “insufficient,” however, merely to survive (if, like me, you adore Emily St. John Mandel’s work, you’ll recognize that I’m lifting this line from her great Station Eleven, which in turn borrowed the idea from a Star Trek episode!) literature and art accrue even more value amidst the horrors of our chaotic times. To survive in any meaningful sense of the word in these difficult days one must read! Although I’ve not been sharing my thoughts online, I have been reading steadily, in the time between packing boxes and moving furniture; my reward has been discovering a number of remarkable classic and contemporary novels. Hopefully I’ll be giving you at least some general reactions shortly but only after I finish unpacking the dishes!
If you’ve visited my blog in the past, you are aware that I love novels, which are almost always the subject when I write about bookish things. As I’ve posted before, I’m a little ambivalent about poetry (short stories, too, but for different reasons). Although poetry was very important to me at one time in my life, it’s a difficult and demanding art form that requires time, attention and insight, which for many years were in short supply for anything other than Janakay’s job (kitty kibble is expensive and hungry cats can be positively savage!). Although I don’t focus on poetry these days, I honor the art and do still attempt to save a little time for reading it. I also attempt, in a mild sort of way, to venture beyond my youthful favorites, which included lots of poems about Corinnas and Lucastas gathering rosebuds and knights riding to many-towered Camelot and so on (Janakay obviously adored Cavalier Poets and the Victorians. How could you not? Their stuff all rhymed and was usually easy to understand. “Ah, youth,” as one of my old fav poets might have sighed). My efforts these days don’t amount to much; I read a poem now and then, usually something in a traditional mode and, occasionally, check out The Guardian’s weekly poetry column (for me it’s a great resource for finding unfamiliar work. A bonus feature is Carol Rumens’ commentary, which always accompanies her weekly selection).
My biggest gesture of support for my former love usually comes in April, designated “National Poetry Month” by these squabbling, competing and currently very disunited States of America. Every April I make a point of actually buying a book of poetry; while I don’t have any rules about what I select, I do try to make it a work of a contemporary poet, or at least a poet who’s unfamiliar to me (this includes almost everyone writing poetry after 1900 or so). My choice this year was Nina Maclaughlin’s Wake, Siren
in which Maclaughlin reimagines the stories of several mythical heroines taken from
Metamorphoses, the great narrative poem written by the Latin poet Ovid in the first century CE. Any lovers of Ovid out there, or just anyone who likes good stories? As the name indicates, Ovid describes an unstable universe in which the world and its creatures constantly shift and transform from one shape or substance into another. Chaos morphs into an orderly universe of form and matter; a golden age transforms into one of silver or bronze; male shifts to female and vice versa; humans transform into animals or plants or constellations — well, you get the drift. Many of Ovid’s stories involve human women or nymphs (lesser female divinities associated with nature) who happen to catch a god’s attention, almost always with disasterous results. The women in Ovid don’t get many happy endings, unless you count being changed into a bear, a spider or a laurel tree as such.
In a very clever metamorphosis of her own, Nina Maclaughlin transforms the traditional stories recounted by Ovid by taking thirty of Ovid’s female characters and transposing them to a modern setting. Maclaughlin’s women wear jeans, do yoga, go to music festivals and talk to their therapists using language familiar to Janakay from her days as a seaman apprentice (the narrator in “Agave,” for instances, tells her visitor that “there’s some beer in the fridge” and describes — sanitized version — King Pentheus of Thebes as “this asshole jock, this clean-cut rapey beef-brained” guy). Most importantly, they tell their own stories in a series of monologues of varying length, speaking not in verse but in a type of flowing prose-poetry. Maclaughlin’s approach adds depth and richness to Ovid’s tales and while you may not always agree with her take on the characters (who knows? Maybe Pentheus has some fans out there!) it frequently makes you rethink what’s going on in the stories. Considering that these tales have been retold in verse, prose and music for over two millenia, this is a considerable accomplishment.
Maclaughlin’s format (like Ovid’s) is very conducive to reading in small dips and nibbles, which is very congenial to my currently fractured span of attention (so difficult to concentrate, don’t you find, with all this constant hand washing and disinfecting?). It also has the advantage of letting you skip around, from short monologue (Nyctimene, two pages) to long (Tiresias, twelve pages), from happy (Pomona) to sad (Callisto). My favorite piece so far (I’ve been dipping in and out for several days now) is Maclaughlin’s retelling of the Orpheus myth, the ancient and popular story of a divine musician who descends to Hades, charms the very dead with his song and almost, but not quite, retrieves his beloved wife, killed by a serpent’s bite on their wedding day. In Maclaughlin’s version, Eurydice is the neglected daughter of a rock legend with music in her blood and a great deal of talent of her own. After several unsuccessful and demeaning relationships that reinforce her low self-esteem, she hooks up with “O.,” a world famous singer who adds physical to psychological abuse in his attempts to silence her own song. Realizing on her wedding day that she can’t go through with it, Eurydice flees to the Cobra Club, a raunchy honky-tonk located in a basement and run by HayDaze and his relunctant wife Penny, who goes away every summer on tour (the club’s sign features a red snake, naturally, and Eurydice and her friends joke when they go there that they’ve been “bitten by the serpent.”) O. follows and, using his music to charm and bewitch, almost leads Eurydice to the top of the stairs and out of the club. One final act of cruelty, however, gives Eurydice the impetus to free herself from his spell and, with relief, return to her refuge, the club where everyone goes eventually and which always has room for one more (even at the sold-out shows). Rather than being gimmicky, Maclaughlin’s clever inversion of the myth’s plot and visual elements makes the ancient story as relevant to us as it was to Ovid’s original readers. It also makes for a lively, amusing and horrifying piece of work. (For another great take on the Orpheus myth, try Carol Ann Duffy’s “Eurydice,” from her wonderful poetry collection The World’s Wife.)
So, do I recommend Wake, Siren? Oh yes but . . . with a few teeny caveats. Although Janakay adores giving a new spin to old material and is very fond of a feminist slant, she is aware that not every reader shares her taste for this sort of thing. If, unlike her, you prefer your mythology straight, Maclaughlin’s book is obviously not for you (in that case, you might check out the edition of Ovid pictured above. Stanley Lombardo’s translation is great, there’s a wonderful introductory essay discussing the themes underlying Ovid’s work and some helpful additional features, such as a glossary of names and a table grouping the myths into various categories). There’s also the question of language, which is very uninhibited. Again, this is fine with Janakay (any naughty word she didn’t hear in the navy turned up when her college Latin class translated Petronius’ Satyricon) but if it’s an issue for you, well, there are plenty of other sources to choose from. Oh — before I forget — it isn’t necessary to know the traditional form of the myth to enjoy Maclaughlin’s version, but it’s fun if you have the time and energy to read the two in tandem.
Well, that’s it for tonight, dear readers. Stay healthy, keep washing those hands and if you’ve time to honor the muse in her special month by reading a poem or two, share any particular treasures you may find!
4 thoughts on “April Is For Poetry”
You are back! So wonderful to hear from you again. Glad you are well. Yes, it is a whole new world from your last post. Ah, the good old days of January 2020. I avoid as much of the news as I can. I sometimes need to know certain facts for work, but generally I am content to remain unknowing.
I can’t say I am a fan of poetry. If it rhymes and is easy to understand…I guess. But I prefer a good song lyric in that case. In fact, I just read an Emily Dickinson poem because it was referenced in a novel I am reading and it flummoxed me even though it did rhyme (Until the Desert Knows). But I would be interested in reading Ovid, if only for the references in later works of fiction. I always want to get every reference, if I can (which is why I googled the poem). When I read a classic, I usually try to get an annotated version. I get that no reader can actually catch everything – sometimes I even wonder if the author would be able to given enough distance from the writing of the novel. I recently read a modern novel that blithely referenced – I think it was a Christina Aguilera song or something to accentuate a description of teenage girls- I wish I had written it down. I don’t even remember what book. But I thought, when I read it, that it might need to be annotated if the book were still in print 50-100 years from now. Not comparing Christina to Ovid, you understand. 😀
Good luck on finding your cutlery and china!
Ruthiella: so glad you’re staying safe and, unlike moi, being your usual disciplined self with the blogging. I love your blog and would miss it a great deal (I’m slowly catching up; read your Foryste piece yesterday). Regarding the news, I think you’ve adopted the wisest course. I’m slowly starting to tune it out myself. I think the suggestion that we all inject ourselves with bleach or ingest light rays or whatever did it. Janakay DOES draw an occasional line!
I know what you mean about poetry. It really is a tough sell. For myself, when I was a little kid I inherited an older cousin’s English lit book and, since books were scarce and I read EVERYTHING in those days, I just sort of ingested it, without understanding much. What hooked me in was rhyme (Tennyson was a big favorite). When I got older and tried the modern stuff, much of which DIDN’T rhyme and which seemed written in code, well, between that, the job and other things (I discovered the joys of fiction), I lost interest. Slowly, slowly, slowly a little of that interest is returning.
Dickinson is one of the most difficult of poets for me. Until a couple of years ago, I absolutely HATED her poems — those weird rhymes, when she bothered, and the obscurity! What the HELL was she talking about? Flummoxed is a very good description. Somehow or other (book review probably) I came across Helen Vendler’s (spelling?) book on Dickinson; it’s a selection of poems where each poem is followed by a brief discussion. Vendler CAN get a little too much into the metrics and stuff (I ignore this) but she does a great job at making the poem comprehensible. When I have the energy, I read a poem (one poem), Vendler’s discussion (usually just a page or two) then the poem again, once or twice. It’s like working out a puzzle. I hate cross words, so I guess this is my substitution. I haven’t gotten very far, needless, but that’s o.k. I’ll have to check out “Until the Desert Knows”!
You might like Ovid. The edition I cited is a good one and the introductory essay is great; there’s a lot more going on than just a collection of stories, although you can just use him for that if you want. Like you, I enjoy chasing down references and Ovid has given the world a lot of them. As I recall, he was very much a man about town and into the latest trend (at least until he got exiled to the sticks); I’m sure he’d be flattered at your comparison to Christina Aguilera!
I actually have located much of the kitchen stuff, which is fortunate (I’m sick of takeout); I’m now working on the books as many of my tresures are still in hiding . . . .
Hi Janakay and Ruthiella. I have also been absent for different reasons, but slowly coming back and truly loving it.
Add me to the group, for me poetry is best enjoyed if it rhymes, and in Spanish. I have a good grasp of English, but poetry requires sort of a sixth sense, and contemporary poetry, lit and art, reference themselves, while traditional references the world. As with everything, and the two books you feature here, nothing as knowing a bit what they are about and if there’s some connections, voila, enjoyment and appreciation will surely follow.
I also love the Aguilera comment. Some of our work will need new cultural annotations for sure.
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